PREFACEthat may well sound to some ears as quintessentially of its time. But by the
mid-twentieth century Jerome H. Buckley began a critical trend that looked
more closely at the ways in which the kind of "Victorianism" that we might
find in "Invictus" "persisted" as "a shield for the conservative and a target
for the modernist" (4). In The Victorian Temper: A Study in Literary
Culture (Cambridge, MA: Harvard University Press, 1951), Buckley con-
tends that to understand "Victorianism" critics need to distance themselves
from this rhetoric of "praise and blame" (7). Better, he thinks, to acknowl-
edge that the "Victorians were quite unable to view their long era as a static
entity, a unique whole to be described by a single sweeping formula." In
Buckley's view the Victorian temper - even though marked by a definite
article - belonged to an era whose "tensions... militated against complete
spontaneity and singleness of purpose" (12), given the scope and breadth of
British culture during this long period of history.
This Companion follows Buckley's lead in showing how and why it
remains difficult to summarize what it might mean to be characteristically
Victorian - either in relation to poetry in particular or to the culture in
general. Indeed, the danger in using any broad term like Victorian lies in
how it may appear an all-encompassing concept, as if the adjective could
reasonably draw together the multiple elements of an amorphous society
into a coherent and stable order. None of the chapters in this volume
assumes that a unitary set of values accords with the term Victorian. Nor
do these studies propose that there is a specific type of poetry that stands
for the age. Instead, the word has a different usage. It defines an epoch - an
expanse of time so the long that it often remains hard to see clear cultural,
political, and indeed poetic continuities from beginning to end. If, then, we
admit that scholars employ the term Victorian to designate a period of
literary history that has no unchanging core, we may as well ask why we
keep using the word at all.
This question is an important one. But it has, of course, an obvious
answer. The main reason for currently holding on to the term Victorian
relates to matters of scholarly convention and syllabus design. It goes
without saying that readers will consult this volume because they wish to
know more about a field of study designated as Victorian poetry. Yet, as
with all periods of literary history, this field does not have entirely fixed
boundaries, especially with regard to the specific poets whom critics have
come to value most highly. The value attributed to the many different
poetical works that fall within this field has transformed considerably over
time. Correspondingly, the kinds of poetry that have been deemed worthy
of analysis have changed as well.
It is fair to assert that until the 1980s critical volumes devoted to